um; a most extraordinary circumstance. It can be
explained by supposing that both bodies were cremated at the same
time, and that their ashes were somehow mixed together. The stone,
probably an onyx, was injured by the action of the fire, and its
engraving nearly effaced. It seems to represent a lion in repose.
Nothing was found in the fourth; the fifth furnished two heavy gold
rings with cameos representing respectively a mask and a bear-hunt.
The last urn, inscribed with the name of Minasia Polla,--a girl of
about sixteen, as shown by the teeth and the size of some fragments of
bone,--contained a plain hair-pin of brass.

Having thus finished with the cineraria and their contents, the
exploration of the tomb itself was resumed. Inscriptions engraved on
other parts of the frieze gave us a full list of the personages who
had found their last resting-place within, besides the two Platorini,
and the girl Minasia Polla, just mentioned. They are: Aulus Crispinius
Caepio, who played an important part in court intrigues at the time of
Tiberius; Antonia Furnilla; and her daughter, Marcia Furnilla, the
second wife of Titus. She was repudiated by him A. D. 64, as described
by Suetonius.[127] Historians have inquired why, and found no clew,
considering what a model man Titus is known to have been. If the
marble statue found in this tomb, and reproduced in our illustration,
is really that of Marcia Furnilla, and a good likeness, the reason for
the divorce is easily found,--she looks hopelessly disagreeable.

The bust represented in the same plate, one of the most refined and
carefully executed portraits found in Rome, is probably that of
Minasia Polla, and gives a good idea of the appearance of a young
noble Roman lady of the first half of the first century. Another
statue, that of the emperor Tiberius, in the so-called "heroic" style,
was found lying on the mosaic floor. Although crushed by the falling
of the vaulted ceiling, no important piece was missing.

Both statues, the bust, the cinerary urns, and the inscriptions, are
now exhibited in Michelangelo's cloisters in the Museo delle Terme.

It is difficult to explain how this rich tomb escaped plunder and
destruction, plainly visible as it was for many centuries, in one of
the most populous and unscrupulous quarters of the city. Perhaps when
Aurelian built his wall, which ran close to it, and raised the level
of Trastevere, the tomb itself was buried, and its treasures left